Quinn

The first temptation is to write than the best part of film remains the intro, interesting - delicate portrait of comradery at the final WWII.

But the story of father dependent by help of outlaw guy , the amusing Pablo and, sure, the decent, kind and correct detective Quinn are nice pieces for be less critic about Quinn.

Indeed, spoon of cliches. But nothing new. The few personal notes, like the dedication from end are significant and the thought about too long short film seems pretty unfair.

Good scenes, others forced, simple story, touching in few moments. But just a nice film , the melancholia inspired by the last minutes being the important one.

A stylish, sharply realised detective comedy, QUINN blends slick world-building with dry humour and a distinctly grey-toned visual palette. The story follows rookie detective Harry Quinn as he's thrust into a shadowy MI5-led investigation-and while the plot occasionally sags in pace, the film's cinematic confidence never falters.

Toby Haycock delivers a standout performance, grounding the absurdity with conviction, while Señor Pablo steals every scene with his irreverent, absurdist flair. The cinematography is where QUINN truly shines-muted, moody, and incredibly polished. Shot compositions feel deliberate and evocative, elevating the noir-inspired setting with a modern twist.

The film's tone leans heavily into comedy, but never at the expense of atmosphere. World-building is subtly rich, hinting at a broader espionage underworld. The score is another highlight-moody, jazzy, and full of character-although some inconsistent audio quality and a couple of dragging moments slow the momentum.

Still, QUINN feels like a cult gem in the making. Stylish, self-aware, and strangely immersive, it's a confident indie with wit, aesthetic, and charm to spare.